A Tehran University graduate, she received an MA in Digital Studies from the University of Denver focusing on New Media Art. Allahyari is a new media artist-activist based in Texas. She was born and raised in Iran and moved to the United StatesIn 2007. Her creative and research interest encompasses experimental 3D animation, digital filmmaking, installation, performance and extensive activity as a curator and producer. Her practice include political and social art, community building and collaborative art. Moreshin has been exhibited extensively in North America and Europe.. Currently, she is an adjunct professor at several institutions in Texas.

" I ask you to show me the view of Tehran from your Balcony. You look back into the monitor: “ But remember? It’s hard to breath here. Darkness hides it all.” You still showed me the lights, the beautiful lights of Tehran which I only started to dream of after I left."

To build a land; an imaginary home. To push the limits of real and unreal, memory and imagination, locality and universality, self censorship and self- exile, time and space. To put together my most vivid memories on flat planes or 3D cubes. Inside and outside the empty rooms, rooms without bodies, rooms left behind.

Morehshin Allahyari's The Romantic Self-Exiles at Oliver Francis Gallery By Brentney Hamilton Fri., Apr. 13 2012 "Purgatory" is perhaps too strong a word, but it is the only term that adequately captures the sense of suspension. outside the arbitrary concept of the nation-state.
graduating from Tehran University. She received an MA in Digital Studies from the University of Denver focusing on New Media Art. . . .is a new media artist-activist based in Texas. She was born and raised in Iran and moved to the United StatesIn 2007. Her creative and research interest encompasses experimental 3D animation, digital filmmaking, installation, performance and extensive activity as a curator and producer. Her practice include political and social art, community building and collaborative art. Moreshin has been exhibited extensively in North America and Europe.. Currently, she is an adjunct professor at several institutions in Texas
2012 Arts+Culture Magazine
The Romantic Self Exiles is an amalgam of anguished reverie, longing and global reflection.One work, The Romantic Self Exiles, II, is projected footage of Tehran (taken with a cell phone) that is split, refracted and generally made glorious by making it travel through acrylic structures before it hits its final destination on a white wall. The plastic rectangles and cubes the images pass through look like a tiny city, not unlike an architect’s initial foray into city planning. The materials and method are simple but the esult is highly complex. The manufactured cityscape becomes blurred and vaguely dreamy. We look for bits of information regarding this exotic place called “Tehran” and we’re left stunned and staring — disarmed little mutes billowing with questions regarding this exotic Middle Eastern place and what it must feel like to be there.Another video installation, The Recitation of a Soliloquy, utilizes text brilliantly. The screen flickers with gray images of Farsi characters. They’re taken from the actual diary of the artist’s mother musing on bringing a baby into the world while her home, Iran, is under siege. It’s an unsettling juxtaposition — war versus pregnancy and the fragility of a new life. It’s haunting and lovely and the English subtitles underscore what the artist has termed “Wombs under bombs. Broken promises….” The piece also shows overlapping maps of Dallas and Tehran. Momentarily, everything in Dallas seems very, very promising. Stunning even.
PATRICIA MORA

The Romantic Self-Exiles

I ask you to show me the view of Tehran from your Balcony. You look back into the monitor: “ But remember? It’s hard to breath here. Darkness hides it all.” You still showed me the lights, the beautiful lights of Tehran which I only started to dream of after I left